The sexist pig or macho figure is much more available for the king to imitate and, in the process, to ridicule exaggerated masculinity. However, not all drag kings ridicule masculinity. Many have moved beyond the simple exposure of male violence and gross sexuality to make their acts tributes to male talent and charm and, thus, an expression of their own abilities. Some kings, such as Dred, the Dodge Brothers band, and Elvis Herselvis, enact a range of masculine traits, including some qualities that stem from sincere admiration and respect.

Storme Delaverié, an African-American male impersonator from the 1940s, suggested that it is harder to impersonate men than women since the impersonation of femininity entails the addition of things while the impersonation of masculinity can only be achieved by paring down. This may be why male impersonation might seem less dramatic than drag queen shows.

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But contemporary drag kings insist that their masculine personas require both addition and subtraction. The questions remain, however, whether drag king theater depends on parody or imitation or realness, and whether it can continue to provide the element of excess and camp characteristic of drag queen performances.

The centrality of gay and lesbian bars to glbtq culture has been reduced in recent years, but they continue to fulfill important functions; and, in many areas, they remain the most visible manifestation of glbtq presence.

The bisexual writer Amantine-Aurore-Lucile Dupin, better known as George Sand, is as infamous for her cigar-in-hand cross-dressing as she is famous for her eighty novels, twenty plays, and numerous political tracts.

A powerhouse performer noted for her no-nonsense stage presence and a penchant for cross-dressing, blues singer and songwriter Big Mama Thornton not only established a signature style of her own, but also inspired mainstream rockers.